CFP: Distributed Aesthetics (12/20/04; journal issue)

Distributed Aesthetics =96 Call for Papers for fibreculture journal,=20issue to be published May 2005

It has been widely argued by sociologists, cultural and media theorists=20=

such as Manuel Castells, Arjun Appardurai and Geert Lovink that we now=20=

live in a landscape shaped by the flows and traffic of globally=20networked information. We have become, in Castells words, a =91networked=20=

society=92 and our cultural, social and economic practices must operate=20=

within this global space of flows. The geography of place and history=20in which association through physical proximity and tradition such as=20neighbourhood, or through identification based upon race, class or sex,=20=

recedes to give way to information space. Artists have responded to=20this shifting cultural landscape by taking up the net itself as a=20medium for practice, by forming their own artistic networks facilitated=20=

by net infrastructure and functionality, and by critically responding=20to what distributed spatio-temporalities might mean for the art object=20=

itself, for art production and for audience interaction. Beyond the=20identification of an historical art movement =96 net.art =96 distributed=20=

aesthetics names ways of artistically operating in a time and space of=20=

In this issue of fibreculture journal, we are seeking contributions to=20=

the aesthetic and artistic theorisation, use and development of=20networked spaces, times and technologies. How, in short, has the=20network considered in its broadest sense contributed technically and=20culturally to contemporary modes of perception? Writers may approach=20this from the perspective of speculative, empirical, historical and/or=20=

-The differences between and relationship of new media aesthetics to=20networked aesthetics-The geopolitics of online artistic communities.-Activism and online art/practice-Theories of distributed time and space as they relate to the=20production and management of perception.-Artistic projects that operate in mixed =96 online/offline =96 modes.-Online aesthetics after net.art, including wireless, mobile, p2p and=20opens source models.Distributed Aesthetics will be guest edited by Lisa Gye, Anna Munster=20and Ingrid Richardson

Submission Dates:Please submit a 250 word abstract outlining the principal argument of=20your paper, its scope and major methodologies to Anna Munster, guest=20editor of Distributed AestheticsNo later than December 20, 2004A.Munster_at_unsw.edu.au